I started this topic and should be respected when I statethat I only want advice from people that are doing architectural / interior photography for a living.

You have bombarded almost every topic on LuLa with your anti-MFD and pro DSLR posting.That is mainly why I wrote "I only want advice from photographers who are doing this kind of work or has done it in the past".

..........

Well I have made money doing architectural and industrial photography.I have published interior design in leading fashion magazines and one of the largest civil engineering companiesin Italy was a client of mine.I still do some architecural today.Celebrities like to use who they know from previous work and that have a reputation for privacy.

I have a D800E and I know it is a fantastic camera.It probably could be the only camera I need to satisfy my clients.But it is NOT the only camera system to satisfy me.

I know you get this.Or else you wouldnt shoot with Fuji GX680 and 8x10

Capish??

Sure you make it pretty clear that the D800E is what is needed and you want a tech camera for pleasure and personal choice. Nothing wrong with that at all. Plenty of people buying Maserati sports cars and driving them in Malibu where the speed limit is45 mph. They are lovely cars. Tech cameras are nice objects.

However there is a big difference between shooting film and paper on large and very large formats compared to the marginal difference between D800E and P65+

1. The OP has a D800e. He knows what it can do. He also has a P65+. He knows what that can do. He wants to put the P65+ on a tech cam, let's help him.2. The D800e is a truly amazing DSLR, but it doesn't have the lenses that a lot of us need. Of course, not all architectural photographers use lens movements. I know one very good one who has a tech cam and prefers to shoot with a Phase DF. He sees the tech cam as too cumbersome.3. The Canon 17 TSE and 24 TSE are amazing lenses and give many photographers and clients everything they need. That is not true for all photographers and all clients. Whether the image is shot to be mostly done in camera or mostly assembled in post has a lot to do with this. Personally, if I could put Canon TSE lenses on a D800e, and have it tether seamlessly in C1, I don't know that MFD would interest me.4. If you put a tech cam and a 5DII on the same tripod and shoot the same image/image series, there will be a difference (particularly in the look, color and dynamic range of artificially lit wood), but whether that difference is meaningful is another story. I see the difference and it is important to me. Unfortunately, my clients do not for the way they use the images, which thus far have been almost entirely websites. I have never printed a comparison so I can't say whether that translates into print or not. Generally a client picks an image and only that one gets worked up.5. Stitching works really well on an internet forum. On a shoot, particularly when there is exposure and focus bracketing, it can be more difficult.6. Some people have shooting styles that dictate a certain type of gear. I hadn't thought about this, but an assistant on a recent shoot pointed out that a lot of how I shoot, particularly when I'm in a hurry could not be done solo with a tech cam.7. There are a lot of people with heavy MFD system investments that prefer to use a DSLR. There are others shooting with a single lens on a Cambo DS with an Aptus 22 because that is the only way they could afford a tech cam. Neither is more right than the other.

i'm using an rm3di with 28mm rodenstock and 43mm schneider lens for architectural and landscape work. as well as a hasselblad h3d with some lenses.

the rm3di is a joy to use, if one likes the tech cam feeling. it's built quality is phenomenal. but it may depend on your digital back if you gonna be happy with it or not. i'm using an old hasselblad h3d-39 back and i'm always jealous when i read posts from the p1 IQ-fraction, because my back has neither live view nor a good screen to judge focus. actually it's a pain to work with for many reasons on a tech cam.but thats no fault of the camera. the p65+ is clearly better in many terms, but still has not the advantages of the IQ's.

°if i haven't already had this DB with the hasselblad body - maybe i wouldn't have purchased a tech-cam simply because the whole investment is that big.°@ 5DII or D800: some clients may think - hey this guy has the same camera like my son, why do we pay a whole lot of money, when all we have to do is getting that lens?°i also do have a d800, but not for architectural work. and there is a visible difference in tonality and detail between d800 and the hasselblad and even more when used on the rm3di °unfortunately nikon doesn't offer a 17mm t/s or rather a 24mm t/s in canon quality. so the d800 is no solution for architectural work for me.

did you ever take a look at the HCam or FPS ?The concept offers unprecedented wideangle with nearly none of the problems that view camera/Frames have with real WA lenses of Schneider or Rodenstock.means : 80 Mpix with up to 126,3 degrees of image angle(17mm TS-E), movements and no LCC at all needed.The 24mm TSE will deliver 108,9 degrees with available movements of up to 8mm /no LCC/ no Centerfilter/ and significantly lower lens price.About all of our customers do intense work on car interiors, architecture and other stuff that needs this extreme wideangle.

one thing that struggles me about the hcam and the new alpa antagonist: i can't imagine that a lens designed for 35mm dslr will ever outresolve a 80mpx back. it probably won't even outresolve an 40mpx back.

5. Stitching works really well on an internet forum. On a shoot, particularly when there is exposure and focus bracketing, it can be more difficult.

Works in the real world and also on the internet or computer screen displays at shows. Interactive ultra hi res images that can be explored.

Focus stacking and stitching is doable. Just requires the right technique.If you are using a pano head focus stack each segment first and stitch afterwards. IF you are using a locked down sift lens moving the camera/sensor for a rectalinear stitch..... Stitch first and then focus stack.

Camera control software can be used to control the camera exposure and control the lens focus. The process is quite automated.

Another option for a digiback is using an old view camera and a stitching back. Moving the back on the back of the camera produces a very easy to stitchset of images. Kapture group makes a really nice one.

If you have the money and the time to shoot, The tech camera is the way to go for quality. If you like to shoot faster avoid db problems, the D800 is the way to go.

I have spent a lot of time working out the bugs with my Leaf and Cambo set up. I love the result but still have problems from time to time. The best solution is to do a test shoo,t and see what you like shooting with. Everyone likes a differnt workflow.

I never hear canon/nikon shooters complain about the workflow and technical problem, but I see lot of post about db tech problems?

did you ever take a look at the HCam or FPS ?The concept offers unprecedented wideangle with nearly none of the problems that view camera/Frames have with real WA lenses of Schneider or Rodenstock.means : 80 Mpix with up to 126,3 degrees of image angle(17mm TS-E), movements and no LCC at all needed.The 24mm TSE will deliver 108,9 degrees with available movements of up to 8mm /no LCC/ no Centerfilter/ and significantly lower lens price.About all of our customers do intense work on car interiors, architecture and other stuff that needs this extreme wideangle.

yes we even have develloped a special longer stitch clamp for the HCam and the 17 and 24mm TS-E this allows horizontal stitch in either portrait or landscape mode.For vertical stitch it needs to be angled 90 Degrees. See here

did you ever take a look at the HCam or FPS ?The concept offers unprecedented wideangle with nearly none of the problems that view camera/Frames have with real WA lenses of Schneider or Rodenstock.means : 80 Mpix with up to 126,3 degrees of image angle(17mm TS-E), movements and no LCC at all needed.The 24mm TSE will deliver 108,9 degrees with available movements of up to 8mm /no LCC/ no Centerfilter/ and significantly lower lens price.About all of our customers do intense work on car interiors, architecture and other stuff that needs this extreme wideangle.

i followed that thread and i saw a big difference in the files gerald.d shared. the 24mm tse performed nod bad, but i like the rodenstock level of detail far more especially when looking towards the corners...

" MFD Vs DSLRs postings..." so boring...i hope that Nikon launch a 80MP 35mm for 1000$ bucks !!! and soon for this debates ends.I love my heavy H3DII 39MP, low iso, tripod on shoulders.Just the pleasure of the eye composition in a such a big viewfinder like a 645 format justify a big price tag !!!If the technology brings a Smartphone with the same quality of a MFD for 600$ anyone will reclaim that its beter to work with a PHONE?LETS MAKE A TAG " MFD post, just for stupid stubborn image religion fanatics...35mm evangelist keep away..."

I apologize if I have contributed to that, but having made my living at this since 1978 and taught AP at two universities with opportunities to use and test a broad range of equipment in both a teaching environment and for clients, I feel an obligation to share my real life experiences on questions like these.

I apologize if I have contributed to that, but having made my living at this since 1978 and taught AP at two universities with opportunities to use and test a broad range of equipment in both a teaching environment and for clients, I feel an obligation to share my real life experiences on questions like these.